


I/iZcc: 35 *^€/yiti 



THE ART 



. . OF . . 



COLUMBMjv 



ART RIBBON-WORK. 



PRICE: 35 CENTS. 

'^^^ 18 tB9S 

/ 

V PUBLISHED BY 

THE WEIGAND-MILLER PATENT RIBBON NEEDLE CO. 
^v DES MOINES, IOWA, U. S. A. 

1895. 



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COPYRIGHT APPLIED FOR. 






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ii 



INTRODUCTORY. 



THE unparalleled success of this new methoa of Columbian Art Ribbon- 
Work, also the great demand by the needle-craft for a book of 
instructions upon the same, has lead us to the publication of this 
little book. 

In preparing this book of instructions, the author selects a few simple 
designs for its pages, beginning first, with a list of suitable fabrics in 
the way of drawn-out work, telling how to draw the threads and make 
the necessary stitches preparatory for the ornamentation of ribbon, and 
second, a lis^ of suitable platted ribbon designs, etc., etc., with which we 
have aimed, to place before the student, every step of the work, from the 
rudiments to the completion of each design. 

Feeling that the contents of this little book will be of material assist- 
ance to the learner of this new method, it is with pleasure that we 
offer to the craft this valuable book upon Columbian Art Ribbon-Work. 

The Weigand-Miller Patent Ribbon needle Co. 



CONTENTS. 



CHAPTER 1. Page 

History of tlie Art of Columbian Art Ribbon-VVork, . . 6 

CHAPTER II. 

About the Materials — Drawing the Threads — Method of Hemstitch, 

Weaving in the Ribbon, etc., .... 7— ii 

CHAPTER 111. 
Selection of Colors, . . . , , . 12 — 13 

CHAPTER IV. 
Fancy Design for Tidy or Dresser-Cloth, . . . 14 — 15 

CHAPTER V. 
Design for Tidy or Mat, . . . . .16 

CHAPTER VI. 
Design for Sofa Cushion-Cover, . , . . 17 — 18 

CHAPTER VII. 
Design for Pillow Sham, •..,.. 19 — 20 

CHAPTER Vlll. 
Border Designs for Tidies or Throws, . . . 21 — 22 

CHAPTER IX. 
Design for Bolster Slip, ..... 23 

CHAPTER X. 
Design for Slumber Roll Cover, .... 24 — 25 

CHAPTER XI. 

Platted Ribbon Designs for Slumber Roll — Sofa Cushion-Cover — 

Pin Cushion-Cover, etc., .... 26 — 32 



THE ART 

. . OF . . 



Columbian Art Ribbon -Work. 



CHAPTER I. 

Never in the history of past years has there been a work of art 
more beautiful, fascinating and pleasing to the eye than this so-called 
Columbian Art Ribbon-Work, which is fast being recognized by the 
needle-craft as a leading work of art. 

The origin of this new work was founded during the Columbian year 
by a lady of recognized ability among art-needle workers who, while 
drawing threads from a linen throw was prompted with the idea of filling 
in the drawn-out space with ribbon, instead of lace designs, etc. Being 
unsuccessful in the first several attempts to weave in the ribbons, without 
soiling the materials, a crude, yet simple device in the way of a flat needle 
was thought of and made, that rendered the weaving in of ribbons, 
of different widths, side by side, through the drawn-out space, without 
impediment; the result was, the beautiful effects produced with the 
needle were so much admired by the needle-craft that letters patent were 
secured, and later, a stock company formed, who termed it the Weigand- 
Miller Patent Ribbon Needle. 

This adds another new feature to the lady's work basket that will be 
admired by every art-needle worker, as she can, in a moment's time, 
ornament with ribbon, any textile fabric that has a drawn-out space. 

These needles were also found very useful in executing many beau- 
tiful platted ribbon designs, such as sachet bags, handkerchief cases, 
slumber rolls, etc., etc., which are very dainty. 

Then there are many articles in the way of doylies, scarfs, tray 
cloths, etc., also numerous little conveniences of the house, such as dust- 
cloth bags, laundry bags, shoe bags and furniture coverings that may be 
drawn and ornamented with ribbon. 

Again, dresses, night robes, chemise, drawers, knickerbockers, divided 
skirts, and various other garments of like nature may be drawn to suit 
and ornamented ; those just mentioned as well as a large and varied line 
of knit materials, can be purchased of any leading dry goods house, 
complete, ready for ornamentation. 



THE ART OF COLUMBIAN ART RIBBON-WORK. 7 

CHAPTER II. 
3lbout tlje )Materials. 

THE FABRIC. 

The various uses mentioned in cliapter I suggest the fabrics employed 
in Columbian Art Ribbon -Work. In this class of work, the beginner 
must use judgment in the selection of her materials, always selecting the 
best, as the threads are more easily drawn. But the student with a little 
experience in this direction will soon be taught the difference between the 
material she does want and that which she does not. 

For all classes of dressing table, bureau, side-board and table scarfs, 
scrim, cheese cloth, silk, and the various linens may be used; while, for 
toilet-cushion covers, fmger-bowl doylies, dainty pillow and bolster slips, 
etc., linen lawn or grass-linen are preferable. 

For tidies, chair scarfs, curtains, etc., scrim, bolting cloth, cheese-cloth, 
unbleached muslin, cambric, pongee, silk, etc., etc., may be used. 

THE RIBBON. 

The most beautiful trimmings for garments or fancy work of every 
description are those of ribbon. The plain satin and gros-grain satin edge 
ribbons are mostly used in the decoration of Columbian Art Ribbon-Work. 
In chapter III, we give a brief description of their uses, also a list of 
harmonious groups, which will be of assistance to the learner in the selec- 
tion of colors. 

The foundation principles for the drawing of the threads in this work 
are the same as those in regular drawn-work. In drawing out the threads 
for spaces or borders to be ornamented, care should be taken to draw 
them out to suit the exact width or widths of ribbon decided upon for 
ornamentation. But in all cases, especially if it be for a border inside of 
the material, like that displayed in chapter VII, of pillow sham, be sure 
to cut the threads at exactly the right points (as more fully described 
on the following page) so that they will not extend beyond, or fall shor^- 
of the desired line or width of space to be ornamented and thus produce 
an untidy, unfmished appearance. 



8 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



No. I.— This engraving shows how to cut a corner and to draw the 
threads, so as to leave a continuous border of the material. (Y) shows 
how the corner should be cut, and (Z) the effect produced by the threads 



WWWIHIIIIIBBiill Hllll l i l l l l lliiiliw(»li>niiJiiMJniiMii ir i* lirilllW Sfcia iBiaillWip)Wlli^^ 



NO. 1.— METHOD OF DRAWING THE THREADS. 

drawn each way from same. Hence, by a careful inspection of No. i, 
it will be seen, that by cutting the four corners at the proper points, and 
drawing the threads each way from same, will produce a continuous border 
of the material. 




NO. 2.— REGULAR OR ORDINARY METHOD 



THE ART OF COLUMBIAN ART RIBBON-WORK. 9 

. j^Q^ 2— This engraving shows the regular or ordinary way of draw- 
ing the threads, which is from side to side of the fabric, thus leaving a 
small square of the material at each corner. 

}Metl2ob of ne"m6titcl]ing 

In hemstitching the first step is to draw the threads, twice the width 
of the hem wanted, from the edge. Then the hem is prepared in the 
usual way, and basted smoothly down, with its turned-under edge even 
with the upper edge of drawn-out space. 




NO. 3.— METHOD OF HEMSTITCH. 

NO 3 -This is the best method for this work. The thread is first 
drawn to the left, then down and over to the right (as seen in engravmg) 
the needle being inserted underneath the threads and passed up through 
the loop. Each succeeding stitch is made in the same manner as the 
first, the needle always being passed up under the fold of the hem before 
the next stitch is made. 

In hemstitching the student must use her own personal judgment as 
to the number of threads she wishes taken up each time, which must be 
governed by the different grades of material used. 

All washable fabrics, where the edges of drawn-out spaces are not 
hemstitched, over-cast them to keep the threads from fraying. 



10 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



The hemstitching finished the next of importance is the weaving in of 
the ribbon. 

^ea))mz in tl^e f\ibbon. * 

This part of the work, at first, may require some little attention, but 
the beginner with a little practice will readily acquire the art. 




NO. 4. FLAT VIEW OF RIBBON NEEDLE. 

No. 4. — This engraving represents flat view of the Weigand-Miller 
Patent Ribbon Needle. In weaving, care should be taken to use the proper 
size for the different widths or Nos. of ribbon, which will avoid the unnec- 
essary binding, and will oftimes save the eye of the needle from breaking 
through over-exertion or carelessness. 

No. I, small size, will carry Nos. i, 2 and 3. 
No. 2, medium size, will carry Nos. 5 and 7. 
No. 3, large size, will carry Nos. 9 to 16 inclusive. 




NO. 5. METHOD OF THREADING THE NEEDLE. 

No. 5.— Method of Threading the Needle.— insert end of ribbon 

up through second slot from large end from underneath at (A) and down 
through first slot from top at (B) which makes it self-binding; hence will 
never come unthreaded. 

Engraving No. 6 represents a tidy with threads drawn out inside of 
hem the width of a No, 4 and a No. 7 ribbon, showing the No. 4 
woven through every other five threads on the inner part of drawn-out 
space and tied in bow knot at upper left hand corner; also shows the 
needle in weaving operation, filling in the No. 7. 

Any number of ribbons of different widths can De woven side by side 
by weaving through the opposite threads each time as seen in illustration; 
but, the artist must use judgment as to the number of threads she wishes 
to be taken up. 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



II 



SHOWS 
I NEEDLE 
LEADING 
RIBBON. 




NO. 6. 



Nos. 7 AND 8.— Details for forming Corner.— First, fold the 

ribbon together at line (A A) then take hold at corner (C) and fold 

over diagonal to line (B B) being careful to make the folds exact, 

which will produce the square corner as seen at No. 8. Tack outer and 
inner corners at (B B) to keep in shape. 





NO. 7. ^"^S'' NO. 8. 

NOS. 7 AND 8.— DETAILS FOR FORMING CORNER. 

Having given a general description of the uses, materials, etc., we 
will on the pages immediately following the "Selection of Colors,'* 
describe each design as it appears. 



12 THE ART OF COLUMBIAN ART RIBBON-WORK. 



CHAPTER III. 

^election of Colors. 

As this is an important feature of the worl<, harmony in colors must 
always be observed. Therefore, to assist the artist in her selectons, we 
give the following list of harmonious groups • 

Blue and gold (or gold-color), a rich harmony. 

Blue and orange, a perfect harmony. 

Blue and salmon, an agreeable harmony. 

Blue and lilac, a weak harmony. 

Blue and drab, harmonize. 

Blue and stone-color, harmonize. 

Blue and fawn-color, a weak harmony. 

Blue and white (or gray), harmonize. 

Blue and straw-color, harmonize. 

Blue and maize, harmonize. 

Blue and chestnut (or chocolate) harmonize. 

Blue and brown, an agreeable harmony. 

Blue and black, harmonize. 

Blue, scarlet and purple (or lilac) harmonize. 

Blue, orange and black, harmonize. 

Blue, orange and green, harmonize. 

Blue, brown, crimson and gold (or yellow) harmonizec 

Blue, orange, black and white, harmonize. 

China-blue and old rose, a rich harmony. 

Crimson and gold (or gold-color), a rich harmony. 

Crimson and orange, a rich harmony. 

Crimson and maize, harmonize. 

Lilac and maize, harmonize. 

Lilac and cherry, an agreeable harmony. 

Lilac and scarlet, harmonize. 

Lilac and crimson, harmonize. § 

Lilac, scarlet and white, or black, harmonize. 

Lilac, gold-color and crimson, harmonize. 

Lilac, yellow or gold, scarlet and white, harmonize. 

Orange and chestnut, harmonize. 

Orange and brown, an agreeable harmony. 

Orange, lilac and crimson, harmonize. 

Orange, red and green, harmonize. 

Orange, blue and crimson, harmonize. 

Orange, purple and scarlet, harmonize. 

Orange, blue, purple and scarlet, harmonize. 

Orange, blue, scarlet and claret, harmonize. 

Orange, blue, scarlet, white and green, harmonize. 

Pale blue and pink, (a French combination) haimonize. 



THE ART OF COLUMBIAN ART RIBBON-WORK. 13 

Purple and gold, or gold-color, a rich harmony. 
Purple and orange, a rich harmony. 
Purple and maize, harmonize. 
Purple and blue, harmonize. 
Purple and black, a heavy harmony. 
Purple and white a cold harmony. 
* Purple, scarlet itnd gold-color, harmonize. 
Purple, scarlet and white, harmonize. 
Purple, scarlet, blue and orange, harmonize. 
Purple, scarlet, blue, yellow and black, harmoni2;&. 
Red and gold (or gold-color) harmonize. 
Red and white (or gray) harmonize. 
Red, orange and green, harmonize. 
Red, yellow (or gold-color) and black, harmonize. 
Red, gold-color, black and white, harmonize. 
Red and gold (or gold-color) harmonize. 
Red and white (or gray) harmonize. 
Red, orange and green, harmonize. 
Red, yellow (or gold-color) and black, harmonize. 
Red, gold-color, black and white, harmonize. 
Scarlet and blue, harmonize. 
Scarlet and orange harmonize. 
Scarlet and slate-color, harmonize. 
Scarlet, black and white, harmonize. 
Scarlet, blue and white, harmonize. 
Scarlet, blue and gray, harmonize. 
Scarlet, blue and yellow, harmonize. 
Scarlet, blue, black and yellow, harmonize. 
Scarlet and blue, harmonize. 
Scarlet and orange, harmonize. 
Scarlet and slate-color, harmonize. 
Scarlet, black and white, harmonize. ^■ 

Scarlet, blue, and white, harmonize. 
Scarlet, blue and gray, harmonize. 
Scarlet, blue and yellow, harmonize. 
Scarlet, blue, black and yellow, harmonize. 
White and gold-color, a poor harmony. 
White and scarlet, harmonize. 

The groups just given are but few and the artist who has taste in 
this direction can make any combination she wishes by interchanging 
colors from the different groups. 

The lighter shades or tints are used for the decoration of fancy-work 
while the darker ones for the ornamentation of personal effects such as 
underwear, dresses, etc. 



14 THE ART OF COLUMBIAN ART RIBBON-WORK. 

CHAPTER lY. 
fancg Desisn for 'Ci^H o^ Di'esser Clotl]. 




: ^ IJ 



NO. 1.— DESIGN FOR TIDY OR DRESSER CLOTH. 



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NO. 2.— DETAIL FOR DESIGN. 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



15 



In this chapter three illustrations are given of fancy design for tidy or 
dresser-cloth which may be developed particularly well with either fine or 
coarse linens or any suitable fabric of which the threads may be success- 
fully drawn. 

FANCY DESIGN FOR TIDY OR DRESSER-CLOTH. 
No. I.— This engraving represents the design mentioned and is made 
of linen scrim. The details for this design may also be applied to shams, 



splashers, toilet sets, etc 




NO. 3.— DETAIL FOR DESIGN. 

NOS. 2 AND 3.— The first in beginning this design is to draw the 
threads for the border, which is done by the ordinary method, and hem- 
stitched as given on previous pages in chapter II. The border hemstitched, 
then with a pair of sharp scissors, cut the threads next to hem at both 
sides of tidy, the width of a No. 5 and a No. i or baby ribbon, and draw 
the threads from hem to hem as seen at No. 2. Next, cut and dr^w 
the threads for the space the long way the width of a No. 7 ribbon. 
Over-cast all edges of inner drawn-out spaces to keep the threads from 
fraying. No. 3 shows the ribbon partially woven in, with needle in weav- 
ing operation. 



i6 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



CHAPTER Y. 
Design for "ij^z ov )Mat. 




DESIGN FOR TIDY OR MAT, WITH DETAIL. 



in the above engraving it will" be noticed that only one-half of design 
for tidy or mat is finished, leaving the bottom and right side to show the 
detail. It may be developed in various ways to suit the taste and can 
be made of cheese cloth, China silk, pongee, scrim, etc.; the one just 
mentioned is made of scrim. The details of this design can also be 
successfully used for table-covers, throws, splashers, dresser-cloths and 
furniture coverings. 

The drawing of the threads in this design is the ordinary method, 
from side to side, as described in chapter II, leaving a block of the material 
at each corner. Space (A to A) shows detail before hemstitched, and 
(B to B) after hemstitched. Over-cast inner edges of drawn out spaces to 
keep threads from fraying out. 

. As can be seen in engraving, the right and left sides are each drawn 
out the width of two No. 3 ribbons, showing them wove in on the left, 
and the top and bottom each the width of a No. 5, showing top space filled 
in. Fill right-hand side to match left side and bottom to match top. 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



17 



CHAPTER YI. 
Design for Sofa Cwsljion-Coi^er. 




DESIGN FOR SOFA CUSHION-COVER, WITH DETAIL. 



By this time the student of Columbian Art Ribbon -Work has dis- 
covered that its designs are easy to accomplish ; for as in any branch of 
art, after the student has learned the rudiments of the work the task is 
found comparatively easy. Hence, after she has learned the rudiments of 
this work, which consists of a hemstitch and the art of weaving in the 
ribbon, she will find very little difficulty in developing the most intricate 
designs. The possibilities of the work are numerous, and as each learner 
progresses she will find that her individual taste will suggest many new 
and pretty combinations other than the various patterns given here. 

SOFA CUSHION-COVER. 

The above engraving represents the design mentioned and is made of 
double width linen scrim, folded half and sewed to form a case, with the 
open end hemed. Can also be made of any other material of which the 
threads can be successfully drawn, and in various ways. 



I8 THE ART OF COLUMBIAN ART RIBBON-WORK. 

DETAILS FOR DESIGN. 

In this design, only the upper half of case is drawn out through the 
center, both ways, and hemstitched as directed in chapter II. The engrav- 
ing shows space (A to A) hemstitched, four strands or threads to a stitch, 
while (B to B) shows the space ornamented with a No. 7 ribbon, edged 
with a No. i or baby ribbon, with ends tied in bow knot at left side. 
Ornament both drawn-out spaces alike. 

A very dainty addition can be made by putting a hemstitched ruffle 
of the same material around outer edge, with threads drawn out inside of 
hem the width of a No. i or baby ribbon, and ornamented. 

A Word or Two of Advice. 

Although the student in Columbian Art Ribbon -Work has been 
cautioned in previous chapters to do her work carefully, it will not be a 
waste of time or words to advise her still further. 

Where several rows of ribbon are woven side by side, through the 
same drawn-out space, care should be taken to take up the same number 
of threads each time, which will give a neat, even appearance when 
finished. 

In drawing threads, be sure to cut them at exactly the right points so 
that they will not extend beyond, or fall short of the desired line or width 
of space to be ornamented, and thus produce an untidy and unfinished 
appearance. 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



19 



CHAPTER YII. 
Design for pillob) Sljam. 




DESIGN FOR PILLOW SHAM, WITH DETAIL. 



With plenty of time, a taste for the employment and even the few- 
examples of Columbian Art Ribbon -Work so far given, and what a field 
of work opens out before the student of this present, modern applied 
decoration. The designs so far have been very pretty, the present one 
being exceptionally so, and the artist by using proper judgment, will find 
that her privileges in the matter of combinations are limitless and thus she 
may work out her own ideal upon new and original designs. 



20 THE ART OF COLUMBIAN ART RIBBON-WORK. 

- DESIGN FOR PILLOW SHAM. 
The engraving on preceding page, represents a pattern designed 
especially for a pillow sham, and may be made of any material to suit. 
The one just mentioned is made of India linen lawn, and adds a very dainty 
addition to the appointment of a lady's bedroom or boudoir. The details 
of this design may also be successfully employed for doylies, tidies, table- 
covers, etc., etc. 

DETAILS FOR DESIGN. 

The material selected, the first to be done is to draw a few threads 
for the border, twice the width of the hem wanted, from the edge, by the 
ordinary method, from side to side, leaving a block of the material at 
each corner, and hemstitched as directed in chapter II, four strands or 
threads to each stitch ; but the artist must use judgment as to the number 
of threads she wishes to be taken up each time, which must be governed 
by the material used. 

The threads drawn and border hemstitched, next cut the corners and 
draw threads for first space to be ornamented, inside of hem, the width of 
a No. 5 and a No. 7 ribbon, so as to leave a continuous border of the 
material, as also directed in chapter II. 

Next, cut the corners and draw threads for second or inner space, the 
width of two No. 5 ribbons ; then over-cast all inner edges of drawn spaces 
to keep threads from fraying out. 

The engraving shows drawn space next to hem ornamented, while the 
second or inner space only partially, with the needle in weaving operation. 

In weaving the ribbons in this, or any other design, having a con- 
tinuous border, the artist will find it more convenient, where two or more 
are woven in through the same drawn space, to always weave in the inner 
ribbon of each space first. (For forming corners see figures 7 and 8, 
chapter II.) 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



21 



CHAPTDR YIII. 
iSorber O^signs for ^^bks or 'C'j^obJs. 




NO. 1— BORDER DESIGN FOR TIDY OR THROW. 

Three very handsome border designs are here shown, for tidies or 
throws, which may be developed particularly well with scrim, bolting cloth, 
cheese-cloth, unbleached muslin, cambric, China silk, pongee, etc., etc. 
The details of these designs may also be applied to any other article admit- 
ting of a border finish, such as skirts, aprons, children's dresses, scarfs, 
furniture coverings and draperies. 

The artist will find most of the details of these patterns already within 
her possession, if she has mastered the instructions for the work given 
on the previous pages. 

DETAILS FOR BORDER DESIGNS. 
In engraving No. i, the threads are drawn out in three places, by the 
ordinary method, from side to side, and hemstitched or over-cast as directed 
in previous chapter II, with lower edge frayed out and knotted to form a 
fringe; also shows drawn spaces ornamented. In all cases, it must be 
understood that the space or several spaces are to be drawn exact to suit 
the width or several widths of ribbon as may be decided upon for orna- 
mentation. 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



m 




NO. 2.— BORDER DESIGN FOR TIDY OR THROW. 

In engraving No. 2, the threads are drawn the same as for No. i, 
and has a hem at lower edge, instead of fringe; also shows space 
drawn out inside of hem the width of eight No. i or baby ribbons, and 
ornamented. A very pretty addition can be made by edging hem with 
open lace, which may also be ornamented. 




NO. 3.— BORDER DESIGN FOR TIDY OR THROW. 

Engraving No. 3 shows a drawn design for tidy, similar in detail to 
No. I, which can be purchased from any leading dry goods house, ready 
to be ornamented. Numerous fabrics of same nature as well as table 
linens, netted hoods, etc., etc., can also be had, ready for ornamentation. 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



23 



CHAPTER IX. 
Design for "jSolster ^\\p. 




M. 



J 



DESIGN FOR BOLSTER SLIP. 

This engraving illustrates a very delicate design for a bolster slip, the 
material used being linon. Although the engraving fully explains itself, 
we will, to aid the artist, give a brief description of its details. 

DETAILS FOR DESIGN." 

The first to be done in this design is to draw three threads, of equal 
distance from each end, for the borders, the full width of the fabric, allow- 
ing sufficient material for the hem. The threads drawn, next join the 
fabric to form a case, making drawn-out spaces exactly meet; then hem 
both ends. Next draw balance of threads for the borders, the width of the 
ribbon decided upon for ornamentation, and over-cast edges to keep threads 
from fraying. ♦ 

In this design, each border is drawn out the width of a No. 5 ribbon, 
showing the left one complete. Ornament right border to match. 

A combination of several widths of baby ribbon will also be found 
very pretty and effective for the borders. 



24 



THE ART OF COLUMBIAN ART RIBBON-WORK. 




CHAPTER X. 

Resign for 3'w^ber %o\\ 
Colder. 

The design here shown is 

one of great delicacy and 

beauty, but as it involves many 

of the principles illustrated in 

previous chapters, the worker 

should experience little difficulty 

in its reproduction. Even 

though she has not mastered 

all the details of the patterns 

2 heretofore given but who has a 

o fair knowledge of the founda- 

o 

-J tion principles, will also be able 

2 by a careful inspection of the 

£ illustration, to copy the design 

5 with little or no trouble. 



DESIGN FOR SLUMBER 
ROLL COVER. 

This engraving represents 
the handsome design just men- 
tioned and may be made of 
butcher's linen, damask, scrim, 
etc., etc. 

As seen in engraving, the 
left half only, of design, is com- 
plete, while the right half shows 
the delicate borders hemstitched 
ready for ornamentation. 

DETAILS FOR "DESIGN. 

In beginning this design, 
tlie first, after selecting the 



THE ART OF COLUMBIAN ART RIBBON-WORK. 25 

material (which is five-eighths of a yard long and three-eighths of a yard 
wide) is to draw the threads the desired width for the draw-ribbons (about 
four inches from each edge) then join to form a case — making drawn-out 
spaces meet. 

Next, draw the threads for the borders the long way of the fabric, 
the width or widths decided upon for ornamentation, leaving the back 
plain, and hemstitch in the usual way as directed in previous chapter II, 
or the edges may be merely over-cast to keep threads from fraying; then 
hem the ends and ornament with ribbon. 

In weaving in the ribbons, fill in the borders the long way first and 
tack at each end to hold in place. Then weave in the draw-ribbons and 
draw the ends to hold roll in place as seen at left of engravmg. 



26 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



CHAPTER XI. 

piatteb TF\ibbon Designs for plumber TF\oll, Sofa Cusl^ion- 
Coi^er, P'm Cusljion-CoDei', 6tc., 6tc. 

Among the many handsome specimens of Columbian Art Ribbon- 
Work, displayed in this bool<, are the platted designs shown in this 
chapter, which are but few of the beautiful effects that may be made with 
ribbon. They are dainty, easy to make, and the artist who has taste in 
the harmonization of colors, can, with what knowledge she has already 
received in her previous lessons, originate many more. 




NO. 1.— DESIGN FOR PLATTED SLUMBER ROLL. 

DESIGN FOR PLATTED SLUMBER ROLL, WITH DETAIL. 

NOS. I AND 2. — This engraving represents a design for a slumber 
rolL It is something new and dainty, and is a very pretty addition to 
a chair. It may also be developed in various ways. 

No. 2 shows how to develop the slumber roll. The first to be done 
is to select the ribbons— the No. or width of ribbon used always depends 
upon the size of slumber roll desired. The one just mentioned is made 
with two shades of No. 9 ; a pink and olive green. 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



27 



The ribbon selected, next take cotton batting and form a solid roll 
twelve inches long and four inches through, and tack with an over-and- 
over stitch to hold roll in shape. 

Commence covering the roll of batting with the first shade of ribbon 
(pink) pinning it at upper left-hand corner (A) and place diagonally, down, 
around and up over, and pin at (B) leaving at least six inches of ribbon 
at either end. The second ribbon is placed identically in the same manner 
as the first one and so on until entirely covered one way. 




NO. 2.— DETAIL FOR PLATTED SLUMBER ROLL. 

Having covered the roll one way with the pink ribbon, next thread 
the needle with the olive green ribbon, and commence weaving in the 
opposite direction, from upper right-hand corner (B) inserting the needle 
under and over every other ribbon, which will form the diamond-shaped 
plats, as shown at No. i. Continue weaving until entirely platted ; the 
pins removed, then notch out ends of ribbon to suit, drawing them closely 
down over ends and tack, over which tie the cross-ribbons. 

DESIGN FOR SOFA CUSHION-COVER. 

No. 3.— The engraving shown on next page, represents a very hand- 
some design for a sofa cushion-cover. Tidies, mats, book-covers, etc., 
can be made on the same plan. 

The ribbon selected (white and green) commence placing tha first 
shade (white) from left to right on a square of card-board or newspaper 
and pin at each end to hold in place; the required number of ribbons (10) 
placed one way, then thread the needle with the green ribbon and begin 
weaving over and under every other ribbon until entirely platted, which 
will produce the checkered effect as seen in the engraving. Baste around 
the outer edge, then face back with material to suit and turn right side 
out. Finish corners with bow knots. 



28 



THE ART OF COLUMBIAN ART RiBBON-WORK. 




NO. 3.— DESIGN FOR SOFA CUSHION-COVER. 




NO. 4.— DESIGN FOR PIN CUSHION-COVER. 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



25 



DESIGN FOR PIN CUSHION-COVER. 

No. 4. — The design shown by engraving on opposite page of pin 
cushion-cover is very pretty and requires little or no trouble in reproducing 
it. It is developed the same as No. 3, only that the ribbons are woven 
diagonally, thus giving the plats a diamond shape. Face the back with 
material to suit, and edge with lace. 




NO. 5.~DESIGN FOR PARTY OR SHOPPING BAG. 

, DESIGN FOR PARTY OR SHOPPING BAG. 

NO. 5.— This engraving shows a very pretty design for a party or 
shopping bag, and by a close inspection of the engraving, and the follow- 
ing instructions, the student should experience but little difficulty in its 
reproduction. 

The ribbon selected, (a No. 9) the first to be done is to take a piece 
of card-board the width of five ribbons and the depth to correspond (the 
artist using a little judgment in this direction) and commence by placing 
the strips of ribbon around the narrow way of the board from left to 
right and tack. The required number of strips (5) having been placed 
the narrow way of the board, then cut and weave in the side ribbons. 



30 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



In preparing the side ribbons, each strip should be twice the length oi 
bag wanted, allowing six inches extra for fringe at top. Thread the needle 
and commence weaving from top at upper left-hand corner, over and 
under every other ribbon, crossing over bottom and up opposite side. The 
side ribbons all woven in, then work a feather edge stitch at top next to 
fringe to form a casing through which to put the draw-ribbons. This 
stitch will also serve to hold the ribbon in shape. 

DESIGN FOR FAN BAG. 
NO. 6. — This engraving shows a design for a fan bag. It may be 
made of any width of ribbon to suit, but a No. 3 is preferable. The 

details for this design are similar to 
those just given for No. 5. Although 
very easy to develop, we will, to aid 
the artist, give a general description 
of its details. 

The ribbon selected (a No. 3 
pink) then take a piece of card-board 
and cut it the width of six and one- 
half ribbons and the depth to corres- 
pond with length of fan. 

Next, cut six strips of ribbon 
twice the length of the depth of fan 
bag, allowing six inches extra for 
the fringe. Then fold first strip half the 
long way, and place over bottom B (allow- 
ing the ribbon to cover both sides of card- 
board) and pin at top A to hold in place, 
thus leaving three inches of ribbon on either 
side at top for fringe as seen in engrav- 
ing. The second ribbon is placed identically 
the same as the first and so on. The six 
ribbons placed, then cut a single strip of 
ribbon the length of fan bag (allowing six 
inches extra for bow-knot at bottom) and 
fold half the narrow way and place over 
edge from C to D. Then thread the needle 
and commence weaving at corner D (again 




NO 6 



-DESIGN FOR FAN BAG. 

leaving six inches of ribbon for bow-knot) over and under every other 



THE ART OF COLUMBIAN ART RIBBON-WORK. 



31 



ribbon, round and round the card-board, until entirely platted, stopping at 
top C and tack. Next, tie tlie two ends in a bow-knot at D, then baste 
around the top next to fringe and remove pins and finish with feather 
edge stitch to hold ribbon in place. Then sew on the arm loops. 




NO. 7.—DESIQN FOR SACHET BAG. 

DESIGN FOR SACHET BAG, WITH DETAILS. 

NOS. 7, 8 AND 9.— Engraving No. 7 shows the design complete, while 
Nos. 8 and 9 show how it is developed. The colors of ribbon used, are 
pale blue and pink. 

The ribbon decided upon, next take four layers of sheet-wadding the 
square of the number of widths of ribbon you desire to make sachet bag, 
and place the sachet powder between the layers and over-cast the edges 
to hold powder in place. 

Next, face the two ribbons and tack them to corner A as seen at No. 
8 on following page, and commence placing the first shade of ribbon across 
to B, then down under and up over corner C, then across to D, again 
crossing the corner underneath and over corner to E and so on until 
entirely covered, the ribbon terminating on opposite side at top, leaving 
about six inches of ribbon for bow-knot. 



32 



Tt4E ART OF COLUMBIAN ART RIBBON-WORK. 



No. 8, front view, shows the ribbons to be parallel from left to right, 
while on the opposite side they are perpendicular as seen at No. 9. 

Next, thread the needle with last shade of ribbon and commence 
weaving from same point A on opposite side of No. 8 (which is shown 





NO. 8, FRONT VIEW. NO 9, BACK V/£W, 

NOS. 8 AND 0.— DETAILS FOR SACHET BAQ. 

at No. 9) over and under every other ribbon and .across corners until 
entirely platted— being careful to cross corners perfectly square. Then 
tack both ribbons at top and tie ends in a neat bow-knot. 




NO. 10 —DESIGN FOR LADY'S DRESS-YOKE. 

DESIGN FOR LADY'S DRESS-YOKE. 
No. 10.— This engraving shows a design for a lady's dress-yoke. In 
developing it, first, cut the lining for the yoke; then weave over it the ribbon 



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